SPECIAL (RX) SPECIOPRIN HYDROCHLORIDE


US, 2006, 81 minutes, Colour.
Michael Rappaport, Paul Blackthorne, Josh Peck.
Directed by Hal Haberman, Jeremy Passmore.

A very brief drama, a tour-de-force for Michael Rappaport. The writer-directors are from a film school and the film gives the impression of a small-budget debut feature. Not that this is bad. In fact, the film is quite interesting, especially in the way that it uses contemporary themes of comics, drugs and psychological breakdown.

Les (Rappaport) is a parking ticket officer (who can be persuaded to be lenient by drivers’ crocodile tears) who lives alone. His only two friends are a pair of brothers who run a shop selling comics.

He agrees to take part in a medical experiment, taking tablets which have been designed to suppress that part of the brain which produces low self-esteem. In a short time, Les finds himself levitating (he says he had always dreamed of flying), exercising telepathic influence and able to read minds. He thwarts a supermarket robbery and sees himself as a superhero. He also sees himself as being followed by suited pharmaceutical company agents who confront and bash him.

The two brothers are concerned. Is this really happening or not?

Rappaport is able to persuade us that Les really believes all that his drug-induced condition is causing him to experience – quite an alarming portrait of psychological breakdown and paranoia.

SEX, HOPE AND LOVE/ SEX HOPP & KARLEK

Sweden, 2005, 93 minutes, Colour.
Krister Henriksson, Ing- Marie Carlsson.
Directed by Lisa Ohlin.

Sex, Hope and Love is a Swedish drama with touches of comedy, wry comedy. At its centre is a very successful TV personality who hosts a reality show called Sex, Hope and Love. When his father dies, he returns to his home town after many years and has to confront his past while having to reassess his whole life. There is his brother who stayed at home. There is the middle-aged woman who was his sweetheart when he was young and whom he left behind. She is now married to a very good man but her teenage daughter is rebellious.

The film makes great use of the atmosphere of the TV reality show, its inanity, its attempts to offer profound wisdom but highlights its superficial nature. It critiques the cult of celebrity. However, the film focuses on the middle-aged woman and the effect of the return of the celebrity to the town, on her own emotions, the quality of her marriage, a secret about her daughter. The film ends with most of the characters having learnt some wisdom and some acceptance.

This is the kind of story that Ingmar Bergman might have told in the past – but more sombrely and without the gaudy trappings.

THE INTRUDER

Belgium, 2005, 109 minutes, Colour.

Koen de Bouw, Filip Peeters, Axel Dawseleire.
Directed by Frank van Mechelen.

The Intruder is a strong Belgian drama. It has an air of mystery, a search for a missing girl – and the case opens up corruption and deceit, cover-up in a small Belgian community in the countryside.

The central character is a doctor who is devoted to his fourteen-year-old daughter whom he is bringing up by himself. She disappears and his world falls apart. Skilful at the hospital, he begins to make mistakes, act violently and spend his time, after being dismissed, searching the railway stations and other centres for his daughter.

The plot is complicated when he meets a young girl at the railway station who reacts to the photo of his daughter. He takes her home and wants her help – but is then arrested for taking home a minor. However, he has a friend in the police force who supports him. When he follows the girl to the village, with the friend of an old pensioner in a caravan, and the love of a teacher with whom he has a relationship, he begins to probe the deceits in the town, behaviour of parents, disappearances of children, sexual abuse – and official cover-up. During the hunting season, the doctor’s life is threatened by the local authorities and he uncovers a conspiracy.

The film is continually interesting, taking the audience into an enclosed community and exploring the universal values and fears and violence when such community turns in on itself.

TARFAYA

Morocco, 2002. 97 minutes, Colour.
Directed by Daoud Aoulad Syad.

Tarfaya is the name of an isolated port village where smugglers abound, people smugglers, who are not scrupulous about throwing unwanted passengers overboard. The police chief is weary and about to retire. Women stay at a hostel in transit. Into the town comes a young woman who has borrowed money to get her a passage to Spain.

But Tarfaya (like Casablanca in the past) is also a state of mind. It is a kind of dreaming of possibilities of making good in a land that promises a better way of life. It is also a dreaming that involves danger and risks.

The inhabitants can prey on the unwary. But, many of them are kind. The young woman experiences both: her bag and money are stolen by a seemingly genial helper (who later is attracted to her and wants to reform), her employer accuses her of stealing; but the police chief finds her a place to stay and an older woman and a young boy are kind to her.

Will she go or will she stay? Winner of the SIGNIS award at the 2006 Zanzibar film festival, Tarfaya suggests some ways of hope and acceptance and even of redemption in a world that is both good and bad – but not totally good nor wholly bad.

MO AND ME

Kenya, 2005, 95 minutes, Colour.

Directed by Richard Mills.

This is a top-rate documentary, memorable for many reasons.

Journalists may be well aware of Mohammad Amin, the Kenyan cameraman and reporter who for decades scooped the stories, especially in Africa, but who brought to world attention through his images a number of crises. He died in 1996 and this is a tribute to him (personal warts and all) by friends and by his photographer son.

In 95 minutes, we are treated to an insightful portrait of Amin. We are also treated to a study of the role of photo and television journalism in the second half of the 20th century. Further, we are shown the man in action and footage he took from some of the key crises in Africa. It begins with Russian and East German training camps in the forests of Zanzibar in 1964 (which led to Amin’s month imprisonment and torture). It continues with a key assassination in the streets of Zanzibar, Kashmiri clashes and a close-up of Idi Amin in word and action.

It was Mohammad Amin who photographed Ethiopia in 1984 and offered the world photos of the famine – and this film includes Bob Geldof and the recording of We are the World. The 90s fighting in Ethiopia led to Amin losing an arm in an explosion but he kept going until he died in the crash of a hijacked plane off the Comoros in 1996.

A narration by his son is a fine combination of critique, love and respect. There are family interviews and helpful meetings with BBC reporters, some of whom visit the sites of action, especially in Ethiopia, 20 years later.

A satisfying and continually interesting portrait and study.

BARAKAT!/ ENOUGH!

Algeria, 2005, 95 minutes, Colour.
Rachida Brakni, Fettouoma Bouamani.
Directed by Djamilla Sahraoui.

Barakat contains a brief but compelling story, told in a slow-moving and contemplative manner. It takes us back into the civil fighting in Algeria in the 1990s. Some of the veterans of the wars against the French have settled into productive lives. Others are still fighting in fundamentalist militias.

The central character is a dedicated doctor who is fearless against curfews to save her patients. Her journalist husband disappears and she enlists the aid of a nurse friend (who fought against the French and has contacts with the militias) and they drive to a remote mountain village to find the abducted man. While they come to aid of the wounded, they are not successful and are made to walk down the mountain to freedom. The doctor bickers with her friend but, finally, apologises. They are given shelter by a quiet old man who takes them by cart back to the city where the doctor realises what has happened and goes in pursuit.

The characters are particularly well drawn and audiences can empathise with the proud and professional doctor and the kindly but tough nurse.

The issues of civil strife and terrorism are universal even as they are shown in the particular details of struggles in Algeria.

TAKE THE LEAD

US, 2006, 118 minutes, Colour.
Antonio Banderas, Rob Brown, Yaya De Costa, Alfre Woodard, John Ortiz, Elijah Kelly.
Directed by Virginia Friedlander.

Almost fifteen years ago, the phrase ‘Strictly Ballroom’ was made popular by Baz Lurhman’s entertaining film about ballroom dancing, the odd assortment of characters who frequented the lessons and the competitions and the demanding rules and protocols required for dancing success. Take the Lead fits into this category of movie entertainment.

It probably has a ready-made audience in the countries where that word ‘strictly’ has become part of the language with the popularity of ‘Strictly Come Dancing’ and the other television programs that promote an older style of dance. In 2005, we saw the enjoyable documentary, ‘Mad Hot Ballroom’, which traced the story of how teachers in New York City took youngsters from underprivileged neighbourhoods, from poor and dysfunctional families and trained them in the arts of competitive ballroom dancing. It was one of those films that are often referred to as ‘inspiring’.

‘Inspiring’ is the word that appears at the beginning of Take the Lead. It announces that it is inspired by a true story. And, it obviously hopes to inspire its audiences. I hope it does.

The story of Mad Hot Ballroom has now been fictionalised, although it is based on the true story and work of volunteer dance instructor, Pierre Dulaine. The age of the students has been upped from the last years of primary school to the last years of secondary. This, of course, gives more dramatic edge to the problems that the students face: absent fathers, drug deals, violence and murder on the streets, prostitution, sullen and surly angers against authority and apathy concerning education.

It should be noted for audiences who might want to go because of the dancing but might be put off by the tough themes that this film is remarkably free of street language – of the kind that is usually warned against. The producers obviously want a wide range of people to come and not to be offended but, rather, to be encouraged and inspired.

Antonio Banderas plays Pierre Dulaine who in real life began this dance project in schools. Dulaine is a widower who trains wealthy youngsters in ballroom dancing. Confronted by the tough attitudes amongst young people, he offers to teach dancing. Teachers are sceptical. Parents object. The principal, a tough and demanding character herself (Alfre Woodard) finally allows him to try, but has no expectations of success.

Take the Lead gets a three star rating for entertainment value. If one were writing a strict critique, it might only get two because it has every familiar character and plot turn in the book. Most of us could have written the plot outline ourselves. But, that it not the point. While a critic looks for the new, the different and the unpredictable, most audiences do like predictability. It is pleasingly reassuring.

It doesn’t really matter if we know that, despite the resistance and the difficulties, Pierre Dulaine is going to convert the students, win over the principal and get the support of the parents. We know that they are going to win the competition against all odds. The enjoyment comes not from finding out what will happen but of seeing the ways in which it all comes out.

Where Take the Lead is different is that it combines traditional dancing with the hip hop trends, with the salsas and the neighbourhood rhythmic dances. It lets us know right from the credits as the beat moves from Gershwin to rap and intermingles the two. For Strictly Come Dancing enthusiasts, there is plenty to delight the eye and the ear – and the added interest of the story of the charming and courteous Pierre Dulaine, of the troubles of the local kids, of the thrills of competition.

For inspiration, Dulaine’s speech to the hesitant parents about how the demands of dance and courtesy can transform their children is convincing and hopeful.

SCARY MOVIE 4

US, 2006, 83 minutes, Colour.
Anna Faris, Regina Hall, Craig Bierko, Bill Pullman, Anthony Anderson, Leslie Nielson, Molly Shannon, Michael Madsen, Chris Elliott, Carmen Electra, Shaquille O’ Neal, Cloris Leachman.
Directed by David Zucker.

What is there to say about a movie spoof except to say whether the reviewer found it funny and to indicate what are the targets of the satire.

The important caveat is that it will really be intelligible only to those who have seen and enjoyed the movies lampooned.

On the first count, it seemed to me to be quite funny, mostly in a chuckling kind of way. The recent Date Movie made the mistake of simply re-doing some of the funny sequences in romantic comedies only proving that the originals were much better and cleverer. The Scary Movies don’t simply imitate. They exaggerate and put into a comic context the originals. The first two movies tended to be over-scatological in their humour, too ‘gross-out’. While there are some lavatory jokes (this time a literal one at the expense of The Village), this time the aim is parody that most people can enjoy.

And the references? It starts with a funny skit on Saw with Shaquille O’Neal? and TVs Doctor Phil happily sending themselves up (and the action comes back to the dungeon of Saw). The main plot concerns Anna Faris (once again showing herself to be a good sport, not just a dumb blonde or a blonde in dumb situations). She gets a job like that in The Grudge. However, next door is Craig Bierko who works on the docks, clashes with ex-wife and children – just like Tom Cruise, only taller – and experiences the War of the Worlds, which is the main part of the plot. And any film which belts the Dakota Fanning character from pillar to post could not be all bad! Meanwhile, Anna and her friend are waylaid into The Village.

There are also some shots at George Bush, especially at the school where disaster is announced and he wants to hear the end of the story about the ducky, and an address to the United Nations. Leslie Nielson does his usual deadpan as the President.

While the President may not be a great fan of Scary Movie 4, Tom Cruise will be even less so – after the War of the Worlds comes the parody of his jumping and laughing turn on the Oprah Winfrey show.

LOVE, WEDDING, MARRIAGE

US, 2011, 90 minutes, Colour.
Mandy Moore, Kellan Lutz, James Brolin, Jane Seymour, Jessica Szohr, Michael Weston, Christopher Lloyd, Alexis Denisof, Alyson Hannigan, Colleen Camp.
Voice of: Julia Roberts.
Directed by Dermot Mulroney.

Love, Wedding, Marriage received terrible reviews. It is a romantic comedy – but, while trying to look at serious issues, comes across as a piece of romantic fluff, even trite. Some of the difficulties are in the writing, but also in the performances.

Mandy Moore is rather one-note as Ava, the central character, marrying her boyfriend Charlie, but concerned about her parents and their wanting to break up after thirty years. She spends most of the film interfering in their lives and trying to save the marriage. She irritates most of the characters – and probably many of the audience as well. Kellan Lutz is her husband, a beefcake kind of hero (the Twilight series, Arena). Veterans James Brolin and Jane Seymour are the parents. There is a cameo appearance by Christopher Lloyd as an eccentric therapist, Colleen Camp as an even more eccentric manager of therapeutic processes, and the voice of Julia Roberts (friend of Dermot Mulroney from My Best Friend’s Wedding) as the voice of Mandy Moore’s therapist.

There are some corny situations, some attempts at marriage counselling, a variety of high jinks, some romantic interludes – and a happy ending. However, while many audiences might enjoy the light touch, many more audiences will probably find the film somewhat irritating. The direction is by actor Dermot Mulroney.

1. The title? The way that it was distributed through the film? Expectations?

2. A family comedy, the cast? Marriage, marriage break-up, relationships, fidelity, reconciliation? The heart in the right place – but the light, even trite, treatment?

3. The affluent background, the families and their homes, the weddings? The therapy background? The musical score?

4. The focus on Ava, her relationship with Charlie, the wedding and the happiness, their commitment? The modelling of her parents? Her work as a therapist – the credibility of her studies, seeing her in action with couples? Her over-eager intervention in people’s lives? Shelby, her sister, acting as her secretary, interfering? Ava and the relationship with Charlie – and the revelation that he had been married before, the annulment, Las Vegas and his drinking, her harsh reaction? The shock of her parents breaking up? Her bond with her father? With her mother? Her father coming to live with her, the details of his being in the house, repairing things, going out with Charlie, drinking? Trying to organise meetings with her mother? The discussions with Shelby? The recommendation to Doctor George – human nature his death-experience therapy? Her own therapist? Her getting deeper into complications? Her having to face herself, her change of heart? Her mother’s trip, interfering again, yet success at the end? The reconciliation with Charlie?

5. Charlie, ordinary type, his job, the wines, love for Ava, the way she treated him, the friendship with Bradley? The friendship with Gerber? Gerber and his drinking, his girlfriend? Charlie on the town with Bradley, unable to control him? Fighting with Ava, the reconciliation?

6. Bradley and Betty, thirty years, the argument? The shock for the daughters? The nu of the marriage? The affair and the situation of the separation? Bradley and his being old-fashioned? Betty and her feeling repressed, wanting to be herself? The plan for travelling? Bradley and his never asking his wife how she felt? Bradley moving in, with Ava, helping around the house, going out on the town with Charlie and Gerber? Betty, her social life, her plans? Bradley and the pills, going to the hospital, her love for her husband, the reconciliation? The credibility of Bradley and Betty as real characters?

7. Gerber, his friendship, his flirtatious manner, at the wedding reception? His meeting Kasia, her lack of English? Love, marriage? Together? Out on the town with Bradley?

8. Doctor George, Christopher Lloyd and his eccentricities, his therapy, the reactions?

9. Ethel, her activities, her commands, surrender – and the family participating?

10. The background, friends, lifestyles? The credibility of the characters – illustrating the themes of love, wedding and marriage?

 

THE OTHER SISTER

US, 1999, 129 minutes, Colour.
Juliette Lewis, Diane Keaton, Tom Skerritt, Giovanni Ribisi, Poppy Montgomery, Sarah Paulson, Juliet Mills, Hector Elizondo.
Directed by Garry Marshall.

The Other Sister is a film about mental limitations. Juliette Lewis plays the mentally impaired daughter of wealthy and fashionable parents, Diane Keaton and Tom Skerritt. After difficulties at school and at home, she has lived for a long time in an institution, coming to terms with her situation. The film focuses on her coming home, her mother’s attempts to dominate her life, her father’s devotion to her, the support of her two sisters (Poppy Montgomery, Sarah Paulson). It shows her studying at a tech school in San Francisco, computers, hoping to be a vet assistant. She encounters a similarly impaired young man, Giovanni Ribisi, and they become friends.

Juliette Lewis gives a strong performance as Carla, the young woman. Diane Keaton is very good – although alienating the audience from her character – as the mother. Giovanni Ribisi is also good as the young man. There is a surprise appearance by Juliet Mills as the family’s maid and, as always in a Garry Marshall film, an appearance by Hector Elizondo.

Critics were not kind to the film – but audiences were very moved by the story and the performances. It takes its place along with many other Hollywood films where significant stars impersonate mental limitations, for example Rain Man with Dustin Hoffman, Awakenings with Robert De Niro.

1. The title, the highlighting of the normal sisters, their ordinary life, mental impairment, disability?

2. The San Francisco settings, the family and its wealth, the home, the boat, their lifestyle, the wedding? The technical college? Apartments? The variety of San Francisco locations? The musical score?

3. Carla’s story, at the institution, coming home, her bond with the doctor, the love of her father, taking the goldfish in the plane, the flight, meeting the family, her mother and the dominance, the supportive sisters? Her age, manner, way of speaking? Her memories of school, being laughed at, pushing the boy down the stairs, meals at home, banging the door?

4. Arriving home, the discussions, the meal, Carla’s behaviour, her room, her mother refurnishing it, shutting her eyes for the memories of her old room? The bonds with her sisters? The sister and her fiancé, the engagement? The lesbian sister?

5. Elizabeth and her personality, Diane Keaton’s strong performance? Tom Skerritt as the father, the past drinking? Under control? The love between the two, their clashes, reconciliations? The mother having to learn how to deal with Carla? Her style, patron of the arts and other organisations, at the function, Carla with the dogs, causing chaos?

6. Going to the tech, wanting to be a vet’s assistant, her arrival, registration, the spray with the boys coming on to her, seeing Daniel, helping him, the computer classes, watching the flirting girl with the lecturer – and imitating her in the mirror afterwards?

7. Daniel, his friendship with Carla, her helping him, their talking, friendship, the bike ride, going to Tids ‘n Bits for food, the bakery, his boss, his skills? His character, disability, father paying for his board? His absent mother? His friendship with Ernest, his apartment, his love for band music, going to the practices, the band members and their support of him, friendship? Carla and the blues? The outings, sharing, their overcoming their disabilities? Daniel’s failure in the exam? Carla’s delight in passing?

8. Carla wanting her own apartment, her mother and her concern, the sex talk and her being reassured? The setting up of the apartment, the mother’s lists, Carla and her travel, the buses, visits home, the sex talk, the Thanksgiving dinner, the package and taking it to Daniel, their previous discussions about sex, Alex Comfort’s book, the diagrams, their behaviour? The consequences?

9. Win, the maid, her love and devotion for Carla, preparing the Thanksgiving dinner? Her joy in the household?

10. Halloween, her swan’s dress, Daniel as the dog, Elizabeth’s reaction? Elizabeth and her teaching Carla to dance? The Halloween party, the dancing, the exam results?

11. Ernest, the Vietnam background, his love for music, playing the guitar, his friendship for Daniel, Daniel and his drinking, Ernest supporting him, the phone call from Daniel’s father?

12. The engagement party, Daniel drinking for courage, the fiancée and Caroline, the speech, Daniel interrupting, his blunt talk, Carla and her rage, never wanting to see him again? Elizabeth and her having to cope?

13. Daniel, going in the bus, going home, the decision to come and save Carla, getting the variety of lifts back?

14. The influence of The Graduate, the comparisons, the scenes shown? The wedding, everybody present, the formalities? Carla and her reaction to Daniel, his sliding down the banister, disrupting the wedding, Elizabeth in control and the wedding continuing? Carla and her argument, the sprinklers going on?

15. Carla wanting to discuss her own wedding, Elizabeth refusing to go, the father and his presence in the church? Daniel’s mother? The ceremony, the vows, Elizabeth turning up, the reconciliation, going outside, the bands and their marching past, the salute to Carla and Daniel? The happy ending?

16. Audiences and emotions, insight into the lives of the mentally disabled, tolerance and understanding, love and support?